
I am an organ recitalist, based in England, specialising in early music. As well as my organ performances, writing has always been an important part of my musical activities. As well as the little book ‘The Performance of Early Organ Music’, I have also written several articles on organ and early music topics alongside freelance writing and reviewing in specialist early music and organ magazines. For 20 years until its demise, I was the principal concert and organ CD reviewer for the Early Music Review magazine. My reviewing is now on this review website.
In 2020, I was elected to The Royal Society of Musicians of Great Britain (founded in 1738), and to the Council of the National Early Music Association.
As for my organ playing, this is an extract from a recent recital programme:
Andrew Benson-Wilson specializes in the performance of early organ music, ranging from 14th-century manuscripts to the late Classical period. His playing is informed by his experience of historic organs, an understanding of period performance techniques, and several internationally renowned teachers. The first of his CDs of the complete Tallis organ works (with Chapelle du Roi) was Gramophone Magazine Record of the Month. The Organists’ Review noted that his “understanding of the historic English organ and its idiom is thorough, and the beautifully articulated, contoured result here is sufficient reason for hearing this disk. He is a player of authority in this period of keyboard music. ”
Another review suggested that a St John’s, Smith Square recital was “one of the most rewarding organ recitals heard in London in years, an enthralling experience”. Another referred to his performance of Weckmann’s monumental Es is das Heil in St George’s, Hanover Sq that “The performance had a confident and assured touch of someone who understood the musical style. His clarity of counterpoint allied to the programme notes helped the listener to identify the processes and individual lines of the music. ” Another review of an early 17th North German programme stated that “Benson-Wilson’s playing was exemplary . . . a fabulous, joyous piece, full of exuberant flourishes, its infectious nature fully conveyed by Benson-Wilson . . . a sure grasp of structure while honouring the work’s more exploratory moments.
Andrew’s concerts have ranged from the enormous 1642 Festorgel organ in Klosterneuburg Abbey in Austria to a tiny 1668 chamber organ in a medieval castle in Croatia, and include the 1723 Hildebrandt organ in Störmthal, Leipzig (where Bach gave the opening recital), the famous 1558 Ebert organ in Innsbruck’s Hofkirche and a reconstruction of the 1517 ‘swallow’s nest’ organ in Biel/Bienne, Switzerland, alongside many recitals on historic English organs, including Christ Church Spitalfields.
In 2020, Andrew was elected to The Royal Society of Musicians (founded in 1738) and the Council of The National Early Music Association (NEMA).
Some examples from live performances can be heard at
http://soundcloud.com/andrew-benson-wilson.
The covers of my Tallis CDs are pictured below. More details are here and here.


Andrew Benson-Wilson : Early Music Reviews + 
I just read your review of the Moeck /SRP solo competition at Blackheath last month and was also troubled by a number of features of the event. Thank you for bringing them to public attention.
My husband and I hadn’t intended to but actually sat through the entire thing.
As well as the physical limitations you mention (access, light, heat, one toilet, disorganisation in allowing equal time for set up etc) we were most concerned in this political era of the lack of support for some of the young performers. The first young performer (who must have spent an incredible amount of time and money and energy in getting herself to the point of performance) sat often alone in an increasingly miserable heap waiting for the result as the many uncomfortable hours elapsed. If she had wondered how welcoming we would be to an EU participant then I would say her answer was “not very welcoming”.
The extra time allowed for tuning the over-endowed accompaniment to one performer (as you rightly mention), who had a very visible support party with them, adversely affected the other performers.
You mention the difficulties of Hojin Kwo’s entrance, but her entire performance was such a complete delight from start to finish that I was only sad that the dismal overrun of the event allowed no public comment on her achievement and potential other than that she had come second. Again less than welcoming to a South Korean young musician coming to us via the EU.
None of this is to wish to detract from Tabea Debus’ fine achievement I winning. But I did feel somewhat ashamed of the SRP’s failure to run a tighter, more caring, ship.